Category: News

Home / Category: News

Click:全国楼凤论坛

Welcome to the world, little Rani Rose! 

On Saturday, Kate Hudson introduced her new baby girl to her 9 million followers on Instagram. “Our little rosebud,” the actress captioned the first public photo of her daughter, who’s swaddled in a hospital blanket. Wearing a pink knit cap with a bow, the newborn sleeps peacefully. 

Hudson gave birth to her first daughter and third child (the Bride Wars star has two sons from previous relationships: Bingham Hawn, 7, and 14-year-old Ryder Russell) on Tuesday. This is her first child with boyfriend Danny Fujikawa. 

Announcing Rani’s birth on Wednesday in a social media post, Hudson explained the sweet meaning behind her name. 

“We have decided to name our daughter Rani (pronounced Ronnie) after her grandfather, Ron Fujikawa. Ron was the most special man who we all miss dearly. To name her after him is an honor,” she wrote on Instagram. Fujikawa’s father, Ron, died in 2012. 

Throughout her pregnancy, Hudson expressed her excitement for having a girl, saying she’s “excited that we’re going to even out the gender ratio in the house.”

Hudson’s brother Wyatt Russell previously told People about how his sister always wished to be a mom to a girl. “I was happy. I was teary-eyed because I know how badly she wanted a girl,” said Russell. “I know Danny, I’m sure in some part of every man’s brain you’re like, ‘I’d love to have a little me.’ But when he met my brother’s little girl Rio, who’s the cutest thing in the entire world, she made him be like, ‘Okay, I want a girl.’”

We hope the new family of five is settling into their new normal seamlessly.    

Click Here: pandora Bracelets

Vogue spends a day in New York with Sarah Ellen and Michael Kors90709

Inspired by the brand’s travel roots, Michael Kors’s new and inherently modern ready-to-wear Fall 2019 Collection is one that taps into the most alluring aspects of globetrotting and the joys of journeying to some of the world’s most exciting cities.

  • 04 Sep 2019

Share

4th Sep 2019

Inspired by the brand’s travel roots, Michael Kors’s new and inherently modern ready-to-wear Fall 2019 Collection is one that taps into the most alluring aspects of globetrotting and the joys of journeying to some of the world’s most exciting cities.  

As such, when model and influencer Sarah Ellen travelled to New York City with Michael Kors, she made sure to do so wearing some of the brand’s most-loved looks – namely a series of styles that easily transition from day to night and desk to dinner.

Click Here: cheap true religion jeans

“From the styling to the energy and the movement, this season’s campaign reflects today’s jet set approach to modern life,” the world renowned designer says of the Fall 2019 Collection’s campaign – which features models of the moment Bella Hadid and Austin Augie – in a statement from the brand.

“The original jet set of the ‘60s and ‘70s showed the world how to live a fast-paced life in the most glamorous way possible,” Kors explains. “Today, between the Internet and all the ways that people move through the world, we’re constantly in motion, and I wanted the images to reflect that.”

Dressed head-to-toe in Michael Kors, Ellen channels a busy New Yorker as she makes her way from front rows at fashion shows, to indie bookstores in Soho, draped in the season’s best and boldest looks.

Keeping warming in the brand’s shearling-lined leather jacket, and on-trend in the collection’s converted leopard print, she proves she can keep up with the city’s high-speed style. While there, Ellen trades the busy subway and Michael Kors’s rock ‘n’ roll leather combat boots for the bustling city’s bright yellow taxis and high-fashion pumps, as she’s captured by a sea of street style photographers. 

It’s this modern mixture of animal motifs and bold leathers, together with the clash of figure-hugging silhouettes and tailored pieces, neutral palettes accented with pops of electric pink, and plush faux fur paired with stretch-denim, that serves to elevate the luxe sport-meets-street collection that boasts something for everyone.

To make like Ellen, and spend a day in New York in style, head in store to explore Michael Kors’s travel-inspired ready-to-wear all 2019 Collection, and browse everything from the brand’s cropped aviator jacket to the cheetah jersey slip dress – which we can guarantee will help you make a bold and brave statement. 

Few places are as mythologized in fashion quite like Chanel’s headquarters at 31 Rue Cambon. Chances are you know about the building’s mirrored staircase and its double-C awnings, but how acquainted are you with what happens on its upper floors that house Chanel’s ateliers?

Well, you can be — and very soon. A new book, Chanel, The Making of a Collection, illustrated by Jean-Philippe Delhomme, offers unprecedented access to Chanel’s in-house and off-site workshops, chronicling the making of Karl Lagerfeld’s spring/summer 2019 collection and Métiers d’Art 2018 collections for the maison.

With text by Laetitia Cénac, the book provides immensely intricate — and by-the-day — details about the inner workings of the Chanel ateliers. It works in reverse-chronological order, starting with the runway and progressing backward through time, and through Chanel’s many métiers, to unveil the techniques and artisans that make the Chanel magic happen. Early on, the styling process of the show’s looks is revealed, with Cénac noting that four studio heads, Odile Massuger (knitwear), Yvette van der Linde (handbags), Rosemarie Eliot (jewellery), and Laurence Dacade (shoes), will stand in the centre of the room to tweak each look alongside fabrics director Kim Young-Seong, with the approval of Virginie Viard and Lagerfeld. This process, which covers each of the show’s 82 exits, takes place just two days before the show.

Throughout the following pages, Cénac checks in with Flore Vladaj, the première of the atelier flou (where the dresses are made), who reveals a little secret of Chanel’s tailoring. “A dress may look straight, but in fact it’s cut into a cone shape. Chanel dresses have this subtlety. The lines marry with the body without revealing it.” Christine Allix, the première of the tailoring atelier, opens up later on about the specifics of the Chanel jacket — for example, the exact measurement of Chanel’s topstitching (two to three inches) and the purpose of the chain details at the jacket’s bottom hem (to weigh down the shape).

Each of Chanel’s métiers is depicted, with additional secrets shared throughout, including an interview with Lagerfeld, who reveals the inspirations behind his final shows. “My latest collections,” he begins, “have a connection to childhood… A collection can come out of a dream — or a nightmare too, by the way. I dream, work my mind, I create, I throw away, I start again… There are no rules or formulas. I draw everything myself. It’s the artistry that I love. Having a studio of twenty people working on computers does not interest me. I always have a notebook near my pillow to write down my ideas, to have a record of them.”

Scroll on to see a sample of illustrations courtesy of Chanel by Jean-Philippe Delhomme.

This story was first published by Vogue.com.

An illustration by Jean-Philippe Delhomme, courtesy of Chanel.

An illustration by Jean-Philippe Delhomme, courtesy of Chanel.

An illustration by Jean-Philippe Delhomme, courtesy of Chanel.

An illustration by Jean-Philippe Delhomme, courtesy of Chanel.

An illustration by Jean-Philippe Delhomme, courtesy of Chanel.

An illustration by Jean-Philippe Delhomme, courtesy of Chanel.

An illustration by Jean-Philippe Delhomme, courtesy of Chanel.

Click Here: cheap true religion jeans

Hosted at a private residence in Sydney’s Eastern Suburbs, premium vodka brand, Grey Goose, in collaboration with Parisian fashion brand Maison Labiche, gathered an intimate group to celebrate this summer’s soon-to-launch Riviera Limited Edition bottle.

On arrival, guests dubbed by the brand as tastemakers, strolled through the sprawling grounds of the hosting home with a custom ‘Paris to Pampelonne’ cocktail and canapés in hand, before sitting down to a three-course meal designed by French-born chef, Guillaume Brahimi—who ensured each course not only incorporated Grey Goose within the cocktails that accompanied them, but also in the dishes themselves.

Starting with a salad nicoise with yellow fin tuna paired with a Grey Goose ‘le grand fizz’, next came locally-sourced lobster with spaghetti, caviar and Grey Goose lemon sauce with a bloody orange and basil martini to match. And in an equally delectable finish to an indulgent meal, guests finished with an assortment of petit fours and, of course, an espresso martini to accompany it.

In addition to a unique fine dining experience, attendees also got a first look at this year’s limited edition Grey Goose bottle—the third annual installment in the brand’s Riviera series—which drops on November 1. Depicted in Maison Labiche’s signature embroidery font, phrases which invite those who hold the bottle read invitations to ‘live victoriously’ this summer, and of course, make a few delicious cocktails in the process.

The bottle also features a unique wave design inspired by trips taken by the fashion brand’s co-founders—Jean-Baptise Richard and Marie Welté—to the Côte d’Azur and the shores of Pampelonne beach in the French Riviera.

Extending beyond the collectable bottle, the duo also collaborated on a limited-edition capsule clothing and accessories collection which includes a range of unisex T-shirts in classic white or Breton stripes, a leather passport wallet, and a beach towel—you can’t get more French, or summer, than that.Click Here: cheap INTERNATIONAL jersey

Newcastle's coolest restaurant has had a facelift

September 5, 2019 | News | No Comments

Newcastle is a metropolis historically known for its gritty live-music scene (hello Silverchair) and steel works – but in 2008, the city attracted headlines for a different reason. An innovative project called Renew Newcastle started offering vacant shops in the CBD to artists and entrepreneurs, rent-free.

The result was an artistic and cultural boom. Since then, Newcastle has been crowned a World Festival and Events City four times and Lonely Planet named it one of the world’s Top 10 Cities for 2011. There are many reports of an exodus from Sydney, as people ditch traffic jams and eye-watering rents in favour of Newcastle’s affordable lifestyle, beautiful beaches, great food and modern culture.

Into this vibrant young city steps Meet, a chic restaurant and bar inspired by the stylish eateries of Manhattan. Formerly on Honeysuckle Drive, Meet has a new location downtown in a converted warehouse. The building’s interiors have had a fresh makeover at the hands of local design firms After Dark and Something More Design.

Abundant indoor plants add softness to the industrial interiors, including a towering ponytail palm at the centre of the restaurant, and various cacti adding asymmetrical interest. The kitchen is open so guests can view the team at work, and for true foodies, there’s a private chef’s table experience on offer.

Meet is accessible from two entrances; the one on Darby Street leads to a dusky cocktail bar (pictured below), while the entry on King Street takes you to the bright and airy restaurant. Access to each establishment is marked by a pink neon ‘M’ sign above the doors.

Once inside, the bar and restaurant are separated by a wall made from patterned glass windows. The wine lists champion local drops from the nearby Hunter Valley, while plates are designed to share.

The food has a distinctly South American feel. Head chef Rafael Tonan loves to fire grill, Brazilian churrasco style working with local suppliers to create seasonal menus that showcase the best ingredients of the region.

An ideal place to get together with friends and family for special occasions or casual catch-ups, Meet is a very welcome addition to Newcastle’s dynamic downtown area – blame it on that unique combination of Steel City down-to-earthness and fresh, modern charm.

Abundant indoor plants add softness to the industrial interiors, including a towering ponytail palm at the centre of the restaurant, and various cacti adding asymmetrical interest. The kitchen is open so guests can view the team at work, and for true foodies, there’s a private chef’s table experience on offer.

Visit: meet.restaurant

Click Here: cheap INTERNATIONAL jersey

Share

5th Sep 2019

Picture the most famous supermodels of the 1990s, and you will probably be thinking of a Peter Lindbergh photograph. The German photographer sparked the phenomenon with a shot in American Vogue, August 1988, of a group of rising models, in white shirts on the beach. Then, in January 1990, came his British Vogue cover, featuring a black-and-white tableau of the original single-moniker models: Linda, Naomi, Cindy, Tatjana and Christy. George Michael saw it and cast each of them in his Freedom! ‘90 music video, which in turn inspired Gianni Versace to send them down the catwalk lip-syncing to that very song.

For as long as the supermodels reigned, and as they evolved with new generations, Lindbergh was there photographing them. And while he was responsible for shaping their careers, perhaps the most striking thing about his photography was its intimacy. Famously unretouched and naturally lit, his images of the most glamorous A-list were often stripped-back, cinematic portraits of unfiltered beauty. John Galliano once said that Peter Lindbergh’s subjects were silent movie stars, with the clothes as the script and Lindbergh as director. His images have the power to be simultaneously timeless and timely, soulful and never contrived—see the supers dressed in Chanel leather, straddling motorbikes in Brooklyn, New York (for American Vogue, September 1991).

 

The originial '90s supermodels shot for the cover of the January 1990 issue of British Vogue. Image credit: Peter Lindbergh

 

In person, Lindbergh was warm, ruggedly handsome and always casually dressed—spectacles at the end of his nose, worn-in jeans and a baseball cap with the slogan, ‘Peter’. It’s this relaxed approach that set the tone for his work, too. “When I first worked with Peter, I thought gosh, he really wants to see me,” German model Nadja Auermann told Vogue. “I had to learn it. It’s really great to understand that. He liked me to look natural and the way I look as a human being. Other photographers will say, ‘I want you to show laughter – but don’t actually laugh’. Peter would always make you smile and make you feel like you didn’t care if you did a weird face.”

In the mid-1980s, Lindbergh explained to Alexander Liberman, the legendary editorial director of Condé Nast, that he simply couldn’t relate to the images of over-styled women that Vogue featured. “I couldn’t stand the kind of woman who was featured in the magazine, supported by the rich husband,” he told me a few years ago. When Liberman asked him to produce a photo of the kind of woman he wanted to portray, Lindbergh went to the beach in Santa Monica with Linda Evangelista, Karen Alexander, Christy Turlington, Estelle Lefébure, Tatjana Patitz and Rachel Williams. Dressed in oversized white shirts, the result was the antithesis of the formal composition of fashion photography and its strictly regimented codes, which at the time meant headshots of heavily made-up models. Instead, Lindbergh showed these barely known models, unpretentious and giggling together, in a moment of sheer joy and authenticity that transcended cosmetics, retouching and extravagant fashion.

The pictures were initially rejected by Liberman and Grace Mirabella, the editor of American Vogue at the time. Shortly after, however, Anna Wintour arrived at the magazine and upon finding the photos in a drawer in the art department, she called Lindbergh in. Wintour commissioned Lindbergh to shoot the cover of her debut issue in November 1988, featuring Israeli model Michaela Bercu in a cropped bejewelled Christian Lacroix jumper and stonewashed jeans, smiling with her eyes half-closed, head turning away from the camera. At the time it was a revelation, signalling a move towards an uninhibited, pluralistic representation of beauty.

 

British Vogue's September 2019 'Forces for Change' cover, shot by Peter Lindbergh. Image credit: Peter Lindbergh

 

Lindbergh credited the success of his collaborations to the fact that he predominantly shot on film, and had much more time to cultivate real relationships without the pressure of social media or digital monitors. “When you use a normal camera, you shoot and you’re alone with your subject and it creates intimacy,” he once told me. “It doesn’t finish in two minutes, because you don’t know if it’s great, so you have to do even more. Then you have a lot of pictures.” He added, when “it’s a bit out of focus, it’s nicer.”

Lindbergh continued: “The crime is that photographers are pushed to shoot with a cable attached to the camera and there is a screen in the middle of the studio and everyone is looking at it. The relationship with the models is killed. The editors will say, ‘Peter you got it, it’s great!’ or ‘Move the hand to the left a little’ and that’s nothing to do with photography. Photography becomes a button and that is so normal now. It’s the end of everything and all the photographers will slowly disappear. In 10 years, there will be no photographers left any more.”

Lindbergh was not always averse to embracing technology, however. Just this year, when asked to photograph a group of 15 inspirational women for the September issue of British Vogue [pictured above], guest edited by the Duchess of Sussex, he photographed Jacinda Ardern, the Prime Minister of New Zealand, through a video link—a first for both him and the magazine.

Spanning four decades, Lindbergh produced a legacy of era-defining images, featuring the supermodels he was pivotal in launching on a global stage. “Over a period of 10 or 12 years, I worked with 10 models at most,” Lindbergh told John Galliano, in a conversation for Interview in 2013. “There were new faces, but there were those 10 who would blow everybody else away. So you worked with the same people.” And the rest, is fashion history.

Click Here: Germany Football Shop

The first creation of the Emoji Mashup Bot that I came across was called “worried + slight-smile.” It was a hybrid emoji that bore the gentle parenthesis mouth and large oval eyes of the slightly smiling face combined with the eyebrows from the worried face—raised in the middle and tilted diagonally downward, implying lines across a forehead. For a little yellow avatar, it was shockingly evocative, resembling someone who is trying to put on a brave face but who cannot disguise her true feelings. I felt sympathy for this emoji! It reminded me of the way that my mother, when I was in high school, would hover in the doorframe, watching me leave the house. “You don’t want me to drive you?” she would say, trying to sound casual.

Click Here: Italy Football Shop

The Emoji Mashup Bot was programmed by an eighteen-year-old university student named Louan Bengmah, who lives in Nantes, France. Once an hour, it randomly selects two or three emojis, pulls elements from them to produce a new one, and then tweets out the result along with the names of the emojis that were used to make the mashup: “tired + woozy,” “thinking + pleading,” or “relieved + pensive.” Since July, when the account was created, more than two hundred and forty-nine thousand people have followed it. New creations often garner hundreds, sometimes thousands, of retweets and comments, many of which are people trying to identify the very particular experience or sensation that could give rise to the expression. Some of the most popular emojis have been converted into a sticker pack for iMessage, WhatsApp, and other chatting platforms.

Emojis are most effective as emotional shorthand, helping to signal tone in digital communications, where tone is so easily misread. As emojis have proliferated, the attitudes that they portray have become more precise. To express happiness, you can choose from faces that show joy, excitement, laughter, contentment, and relief. For sadness, there’s disappointment, anguish, frustration, grief. But, unlike the official emojis, which convey ever more detailed gradations of emotion, the Emoji Mashup Bot’s hybrid expressions capture thornier feelings—ones that don’t have names. Their distinctiveness is a product of their contradictions, their layers.

Sometimes, the flicker of emotion in a mashed-up emoji can be so subtle that, as with the “worried + slight-smile” face, the image captures not a mood but a micro-expression, one that betrays a person to those who know them best. “I’m not worried,” my mom would say, from the doorway. “This is just my face!” The “raised-eyebrow + grinning-sweat” emoji, for instance, was described by Twitter users as “Heh, that was a close one!” and “When you tell a joke that fell flat.” Other times, the self-contradictions in a mashed-up emoji seem to imply a narrative. One of the account’s most popular tweets is an emoji blowing on a party horn, in a cloud of confetti, with tears streaming down its face and pooling on the floor—“partying + in-tears.” Is this the sight of someone hitting rock bottom after a bender? Or perhaps an honest depiction of the bittersweetness of celebrating a birthday? Meanwhile, the “surprised + smiling” emoji, which has raised eyebrows, two bright-pink circles of blush, and an “O”-shaped mouth, was summarized as “When your crush actually likes you back.” But “angry + smiling-three-hearts,” with its knitted brows and cunning grin, surrounded by floating red hearts, seems to show the crueller side of love—how it can bleed into possessiveness or spite.

Bengmah told Time that he created the Emoji Mashup Bot with the intention of improving his coding skills—to see if his program could accurately break down existing emojis into their parts and then reassemble them—not with any psychological ambitions in mind. So it’s an unexpected delight to see the indifferent intelligence of an algorithm capture the nuances of human emotion. The Emoji Mashup Bot has stumbled upon our ambivalence, the way that we can want and not want something at once, or feel love that is tinged with anger and resentment. It’s impressive, poignant, and silly; it’s enough to make you feel heart eyes plus head exploding.

Midlife, according to conventional wisdom, is a time when women become invisible. Like most conventional wisdom having to do with women’s lives, this bit serves more as a warning and a threat—a kind of campfire story (“She turned forty and no man ever looked at her again”)—than an accurate depiction of reality. But what is true is that signs of aging in women are treated as though they ought to be invisible, which makes the subject a natural one for Elinor Carucci, a photographer who has long been drawn to the disconcerting closeup.

The subject matter of most photos in Carucci’s series “Midlife” is unremarkable: a smudge of lipstick; the knuckles of a hand; a gray hair; a ripple of cellulite. What is unusual is the focus: the lips, photographed so closely that the hair on the upper lip appears wiry and thick. The knuckles, wrinkled and mountainous. The gray hair, lit against a black background, spiralling upward to an impossible height. The rippled skin, tissuey and fragile. To treat signs of impending middle age with such gravity and drama is both absurd and—it seems to me—deeply honest about the kind of intense, exhausting self-monitoring that can feel like an inescapable part of owning a female body. I love the way that these pictures literalize a familiar sensation—the impulse to magnify a tiny, errant part of yourself until it is wildly out of proportion—and, in doing so, make that impulse seem not shallow or vain but simply human.

Click Here: Italy Football Shop

The pictures of the body—Carucci’s body—are included in the series alongside pictures of her family: kids in early adolescence crying or laughing; three generations sprawled on the couch. Sometimes, Carucci’s pictures of other people are as dizzyingly up-close as her self-portraits; other times, the kids are blurry and in motion. Sometimes, the thing that catches the eye is the glow of a phone, or a glass of white wine in the evening. Because that’s how it is for many women, isn’t it? We move from being scattered to self-obsessed, intrusive to neglectful. Our attention moves from the self to others and back again, never in quite the right place, or at the right time, never in quite the right amount. To feel as though the attention you’re giving yourself, and the attention you’re giving other people, even those closest to you, is always, in some way, out of kilter—that may be more of a foundational experience of womanhood than anything having to do with the body.

That’s true even on an ordinary day, but there are other kinds. One picture in Carucci’s series is titled, bluntly, “My uterus”—it shows the organ, sitting on a blue cloth, a label that says “Carucci, Elinor” just visible, in the upper left-hand corner. The picture is shocking, I think, not only because of its subject matter but because it arrives without warning: there is no preceding photo of Carucci in a hospital gown, preparing for anesthesia, or subsequent ones of her children gathering around her when she wakes up; there’s no photo of the doctor, or the ensuing scar. We don’t get the story we crave, the story that might make sense of this for us. There’s just the organ, the same color, almost, as flamingo-pink lipstick that makes an appearance in a handful of the other photos. It calls to mind a set of other pictures in the series, which we might assume were crimson abstract paintings—if, in an essay about the project, Carucci didn’t tell us they were made with her blood.

If you are drawn to Carucci’s work, you are probably a person who knows what it’s like to look at things too closely. You know how uncomfortable that can be, but also how satisfying. You know what it’s like to stare at things that other people might prefer to look away from; you are familiar with the impulse to showcase the parts of yourself that other people would prefer that you hide. I get it. I’m like that, too.

This piece was drawn from the foreword to “Midlife,” by Elinor Carucci, which is out October 8th, from Monacelli Press.

Urban Foraging 101

September 5, 2019 | News | No Comments

Living in a city is tough—everything is so expensive! Luckily, there’s free food hiding in plain sight. Let our six-week urban-foraging class open your eyes to the cornucopia that surrounds you!

Week 1: Workplace Pantry

You’re in a big, intimidating city, so you should find yourself a job where management tells you that your co-workers are your family. Remember, it’s a tactic to make you do more work, but use it to your advantage when it comes to the office pantry. This week, we’ll practice removing plastic cereal bags from their boxes, so that it looks like the shelf is still stocked; changing up your handwriting, so that you can request more than one person’s worth of food on the fridge whiteboard; and maximizing backpack space, so that you can bring food home.

Week 2: Workplace Fridge

Now that you’ve mastered the pantry, it’s time to level up to the fridge. We’ll practice identifying food that’s just about to go bad, so that when you take it, people will think you just cleaned out the fridge; judging which co-workers will forget that they put their lunch leftovers in the fridge; and creating meals from workplace food staples, like yogurt, string cheese, and someone’s old, forgotten Gatorade.

Week 3: Dinner with Friends

Here’s where we dip into some really advanced coursework. We’re foraging in front of non-foragers (always a gamble), and we have to be nimble and discreet. Lessons include arriving late and saying that you’ve already eaten; hyping up the appetizers, so that someone gets an order of duck-fat waffle fries for the table; complimenting friends’ orders, so that they offer a bite; and confidently saying “I actually only ordered water, but I have some change for a tip?” when the check comes.

Week 4: Trader Joe’s

Our field-work week! While free samples may seem like a walk in the park, there are more obstacles to obtaining a Dixie cup of pumpkin bisque than students realize. We’ll learn how to navigate the Trader Joe’s parking lot in under thirty minutes; maneuver carts during peak hours; identify the chillest employees who won’t protest when you take multiple samples; and memorize the schedules for when they switch from morning samples to afternoon samples.

Week 5: Non-Edibles

This week, students will learn to seek out staples that aren’t food! We’ll talk about Starbucks napkins, coffee shops with unsecured toilet paper, the thrift store that hands out free condoms, and more. Each year, I’m delighted by the innovative foraging techniques that students bring to this session. Recently, we had a student identify a local health-food store that had a first-aid kit with Band-Aids to spare in a publicly accessible bathroom. Groundbreaking!

Week 6: Class Final

Students will be invited to put their new foraging skills to the test and concoct a dish from their bounty. Past students have brought in treats including smoothies made from office yogurt, bananas from places where they were dog-sitting, and an orange that was growing on a tree that hung over the public sidewalk. Expect a feast for both the stomach and the mind.

Click Here: Italy Football Shop

Any Iowan will remind you that September is early in the bid for the Democratic Presidential nomination. At this time in the 2008 race, Barack Obama was trailing Hillary Clinton and running just a few points ahead of John Edwards. Pete Buttigieg, the thirty-seven-year-old mayor of South Bend, Indiana, is currently polling at around fifth place in the national race and in the first caucus state. On Labor Day, he made his eleventh trip to Iowa as a Presidential candidate, a quick swing that included attending a panel on climate change and the opening of two new campaign offices. Some of Buttigieg’s staffers have dubbed this month the next phase of the campaign, following the first, in which they taught the electorate how to pronounce his inscrutable last name, and the second, in which they raised enough money to insure that he’d last through the fall. Until this week, his team had set up just one office in Iowa. By the end of September—the third phase of the Buttigieg campaign—it plans to have opened twenty more.

If success in the first caucus state depended on the size of a candidate’s crowds, Buttigieg might have been able to overlook the fact that his poll numbers have slipped, perceptibly, since his breakout, last spring. In March, Buttigieg’s performance at a CNN town hall propelled him to sudden relevance in the national headlines. In June, a poll from the Des Moines Register showed him jockeying for second place with Elizabeth Warren and Bernie Sanders. In the most recent quarter, Buttigieg brought in more money than any of his Democratic rivals, relying on a network that includes both grassroots donors and high-dollar patrons from the coasts. But a meaningful distance still separates him from the race’s front-runners, most of whom established their operations in early-voting states months ago. The optimists in Buttigieg’s camp contend that his ample finances will allow him to survive a brief period of stagnancy. The pessimists suggest that time is running out, not simply for the country—as Buttigieg is fond of repeating in his stump speech and on the debate stage—but for his prospects in an overcrowded field.

On Labor Day, as Buttigieg toured a river in Cedar Rapids where flooding a decade ago had caused billions of dollars in property damage, he found himself fielding questions about more than a few national disasters. During the weekend, an armed man in Texas had murdered seven people. Hurricane Dorian, which had slammed the northern Bahamas, killing at least five, now crept toward south Florida. The news, as usual, was dispiriting, but gun control and climate change are issues that, perhaps more than any others, allow Buttigieg to cast his youth as an asset. (“We are never going to be able to fix what’s broken in Washington by recycling the same arguments and politicians,” he says, in a Spotify advertisement that was released last month. “We’ve got to do something completely different.”) Buttigieg was a junior in high school during the Columbine massacre; he likes to remind voters that he was part of the “first school-shooting generation”—and that adults had promised that there would never be a second—before cueing up perhaps his most reliable applause line: “Shame on us if we allow there to be a third.”

Buttigieg makes a similar appeal when discussing the perils of the climate crisis. At a roundtable discussion in Cedar Rapids, he assured two high-school seniors from the Sunrise Movement of his commitment to “generational justice.” “I’m concerned for you, for your generation,” he told one of the students. “I would like to say our generation, but I’m beginning to admit that I can’t claim to be from the same generation as somebody in high school.” Buttigieg grinned. The audience, mostly white and middle-aged, broke out in applause. He told the teen-ager, “I would love for us to be figuring out stuff we can’t even imagine by the time you’re ready to run for President.”

When Buttigieg hopped on a soapbox outside his new office, a converted single-story house on the southwest side of the city, he looked tanned and well-rested, in a white button-down shirt and a snug pair of jeans. “We are going to change the expectations for the American Presidency so that it’s an office that kids can look up to,” he told a few hundred locals. Kids, in fact, abound at Buttigieg’s campaign stops. Babies can often be heard wailing as the candidate takes the stage. One of his Labor Day speeches included a stirring litany of some of the children who have attended his events: a fifth grader in Cedar Rapids who asked him how the country would protect its schools from shooters; a twelve-year-old who brought up a detailed question about health-care policy, her precocity rivalled only by her urgent need for insulin; a black fourteen-year-old whose concerns about “racial tensions” in his school distract him from cultivating his passion for computer programming. “This is exactly the kind of kid we want concentrating on what he happens to be very good at,” Buttigieg said. “But he explains to me that in the halls of his high school he’s getting called racial slurs. And I’m thinking, That’s not racial tension. That’s abuse. It is on the rise in our country, and we’ve got to turn it around.”

Part of Buttigieg’s strategic charm is his ability to communicate even progressive stances with rhetoric that emphasizes seemingly nonpartisan American values. Matthew McGrane, who recently moved, with his husband, from Chicago to Cedar Rapids, told me that he appreciated Buttigieg’s “expansion of the term ‘freedom,’ ” which, during speeches, the candidate defines, in “its richest sense,” not simply as a “freedom from” societal ills—unjust working conditions, corrupt polling practices—but a freedom “to live a life of your choosing.” A caucusgoer who attended the same event drew a comparison between the candidate’s liberty to choose a life partner—Buttigieg, who came out in 2015, is married to a man—and her own liberty to select a health-care plan. “There’s nothing more essential to freedom than having those rights,” she said.

Ryan Brainard, a father of three, from Marion, who hosts a beloved country-radio show, attended Buttigieg’s event in Cedar Rapids, where he met the candidate for the first time. He compared supporting Buttigieg to “discovering a band, or a new music act.” “You get in on the ground floor,” he said, “and then you see other people come in.” Brainard grew up in a conservative family and voted for Clinton in 2016; he said that he admired Buttigieg’s reinvigoration of faith in politics. “The Republican Party has long incorrectly held that particular issue as hostage—as though, if you’re a Christian, you can’t vote for a Democrat,” Brainard told me. “I really appreciate the fact that he speaks to that.” Jeff Zoltowski, who brought his wife and three of his children to the same event, voted for Donald Trump in the last election. “I thought that he would shake up the establishment, which would create a new generation of political candidates,” Zoltowski said, adding that, four years later, “Pete’s the candidate for that. He’s got some conservative values that a lot of the other Democrats don’t.” On the other hand, he pointed out, “I think the fact that he’s young and gay will bring out the youth vote. I think he can energize the youth in a way that no other candidate can.”

Later that day, Buttigieg stopped by his new office in Iowa City, a few blocks from the University of Iowa. A team of volunteers, led by Chris Weckman, a local contractor and a Buttigieg diehard, had spent the previous week refurbishing the building. It used to be a “nasty little tanning salon,” Weckman told me. Now it was a veritable shrine—all blue and gold paint, with countdown calendars, American flags, and an entire wall reserved for a stencilled rendering of the candidate’s face. “Looks like I’ll always be looking on you,” Buttigieg told the crowd. The key now, he said, was “to go out there” and spread his message “across the way.” “This is how we’re gonna win Iowa. And Iowa is how we’re gonna win the nomination. And that’s how we’re going to win the Presidency—so I think we’ll be looking back very fondly on this day.”

As the volunteers made their way to College Green Park, where eight hundred people convened for Buttigieg’s final stop, I chatted with Izzi Teduits and Sean Murphy, two students who helm a campus organization at the University of Iowa called Hawkeyes for Pete. Like many of Buttigieg’s volunteers, the students plan to rely on what the campaign refers to as “relational organizing,” a strategy that prioritizes leveraging familial and social networks over cold-calling strangers. Earlier that day, in Cedar Rapids, a crowd member who works at the university described a “buzz” for the candidate on campus. “You’ll see the T-shirts,” he told me. “You’ll see the signs. I have not seen that with any other candidate.” On campus, students had just finished their first week of classes, but Murphy, a sophomore, described an already palpable sense of enthusiasm. “The university president hosts a block party at the start of school, and people were just ecstatic about Pete,” he said. “He’s young. He’s fresh. He has great ideas.”

For the last few months, Buttigieg has drawn crowds in Iowa that conjure the early energy of the Obama campaign. Last month, after five hundred people showed up to a rally in Fairfield, more than a few told me that, although Obama’s audience in the same town twelve years ago was slightly larger, no other candidate’s numbers have come as close. The campaign has not resisted leaning into these comparisons, in no small part, it seems, because Buttigieg will need to rely on a similar tactic to succeed. In 2008, Obama managed to activate political interest in under-engaged communities in Iowa, where an unprecedented turnout of first-time caucusgoers delivered him a surprising eight-point victory. The precedent for such a strategy might be rarefied, but it exists. The question is whether Buttigieg’s campaign has the power, and the patience, to repeat it.